[Reviewed by Iaha Crax]
The neoclassical martial scene is a meeting place for a great number of individuals with technical skills in digitally producing music. A great number of them are trapped in pedantry and pretentious seriousness, sometimes difficult to perceive beyond the stiltedness of the music.
Emanuele Buresta started this project about 7 years ago and released 4 albums. “Il Sole a Mezzanotte” came out in 2012 on Rage in Eden. As an Italian the composer takes great inspiration from ancient Roman life, and more particularly he has transposed into music the spiritual and religious beliefs of the great empire. After a ritual text, “Carmen Saliare”, there is a song that surely will make everyone wonder where they’ve heard it before, “E Domani È San Giovanni”. We are acquainted with many old, mostly medieval songs, rearranged and polished by modern musical projects. On “La Porta Degli Uomini” which is Ianva Inferi, the gate of men is a gate to hell, a nice well-balanced neoclassical song. There is a habitual approach that modern artists have of reviving ancient melodies: in most cases they bring into an old text or song the contemporary view upon society, namely the old is impregnated with our bleak everyday visions and feelings. And this contact between new and old receives a touch of nostalgia that brings out tunes of a strange beauty, like this the one I mentioned above.
I was expecting a percussive ritualistic melody from “La Danza Dei Fuochi’ and this is what I got. Unlike Endvra which drives heavy on the practical side of music, L’Effet C’Est Moi has only the intention to realize a potential musical tableau. The artist colors even thematically dark tracks such as this one with a personal sense of melancholia. The agglomeration of keyboard effects can sometimes be of pompous taste, harmful to musical common sense. On the other hand if properly used you can have an attractive picture like the one in “Fors Fortuna”, an alert medieval tune with bright melodies and a joyful chorus. With keys you can rapidly come up with a melody just by rearranging another song, just as Emanuele did on “Artemisia”. The same feeling you have with “Striges”, where you hear a ticking, perhaps announcing the witching hour, and then as voices and noises mingle more powerfully, the tune turns into the familiar digital organ track colored by declarative priest-like vocals.
The title track, “Il Sole a Mezzanotte”, beautifully brings into our times an utopic antique ambiance, where man was closer to his nature, his inner sun. The song has splendid tonalities and complex orchestration on a martial skeleton. Maybe if played on original instruments it could reach a magnificent level of intensity as experienced when you are listening to Corvus Corax. “Sol Indiges”, like the previous track reminiscent of roman symbols, is a praise poem or hymn recited in Latin and dedicated to the Sun. The percussion marks the sound of a ceremonial procession.
The cult of the moon, as with most feminine deities, finds its origin in Oriental, semitic areas. The song “Lunae, Thymiama Aromata”, blends this oriental aroma with European warrior-spiced flavor in a strongly percussive ballad sung in praise of the Moon.
When listening to such projects I always have in mind one or two I deeply consider, Barbarossa Umtrunk and Pazuzu. L’Effet C’Est Moi represents a brighter side of the genre, which can be easily seen on the next track “Ianvs Axis Mvndi” and on the final untitled track. A sense of pride derived from the ancient Roman heritage together with a personal nostalgia fed by a genuine Mediterranean spirit is what distinguishes this Italian project.